Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Azerbaijan and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Winnipeg.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jeff Lynne to the jazz kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sandy B. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Soft Cell,
Sight & Sound,
Harry Pussy,
Major Organ And The Adding Machine,
Robert Görl,
Lou Reed & John Cale,
the Swans,
Wire,
Scott Walker,
Andrew Hill,
Camberwell Now,
Magazine,
The Pop Group,
The Smiths,
Sister Nancy,
Selector Dub Narcotic,
Roxette,
E-Dancer,
Todd Rundgren,
Sad Lovers and Giants,
Gary Puckett & The Union Gap,
Sunsets and Hearts,
Donny Hathaway,
The Skatalites,
Orchestral Manoeuvres in the Dark,
F. McDonald,
Barbara Tucker,
Boz Scaggs,
Ash Ra Tempel,
Lizzy Mercier Descloux,
Ken Boothe,
Wally Richardson,
Pierre Henry,
Cheater Slicks,
The Five Americans,
Little Man,
Gastr Del Sol,
Bootsy Collins,
Piero Umiliani,
Camron Feat. Memphis Bleek And Beenie Seigel,
Groovy Waters,
The Smoke,
Amon Düül II,
The Electric Prunes,
Röyhkä ja Rättö ja Lehtisalo,
Shuggie Otis,
Lindisfarne,
Kayak,
Delon & Dalcan,
Pharaoh Sanders and the Fire Engines,
The Litter,
Hoover,
Oblivians,
New Order,
One Last Wish,
The Last Poets,
Quantec,
Ultravox,
The Gories,
Sonny Sharrock,
Pagans,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.